The Harmonica Boogie Woogie Man: AUBREY GASS (1939-1965)

Nothing is known about this important, although quite obscure artist of the 1940’s and ’50’s. Even not any statistic of birth or death, although he was certainly livng in the Dallas, TX area, and was born there during the ’20s. Nothing more is known about his childhood and beginnings in music, so we are forced to deal only with the records he appeared on.

From 1939 until 1952 he was closely associated with another Texan, AL DEXTER and worked with him either as washboard player (in the ’30s), sometimes harmonicist, and in some cases held the vocal duties into the Dexter’s band, « The Troopers », not forgetting he was also songwriter : he was co-writer (with Tex Ritter) of the all-time Hank Williams‘ classic, « Dear John ». But more about that later.

Al Dexter

In 1939, he was a member of the Al Dexter’s Troopers, as said before, and offered the group a good selling disc : « Wine, women and song » – recorded in December 1939 and issued on Vocalion 5572, it was covered by Texas Jim Lewis in September 1940 (Decca 05875), and by the Prairie Ramblers (Decca 05878) – the song must’ve looked to Decca’s executives a lucrative seller). When re-recorded by Dexter on Columbia 37062 in April 1945, he was a second time covered (a reissue) by Jim Lewis (Decca 46021). It attracted two more versions in 1946 by Frankie Marvin (San Antonio 107) and Dick James (Coast 234).

Gass gave Al Dexter (or co-wrote with him) two more songs in 1941/42 : « The Money You Spent Was Mine » (Okeh 6206) and « Honky Tonk Chinese Dime »(OKeh 6604). He played the harmonica on « Diddy, Wah, Diddy With A Blah !Blah ! » (Vocalion 6255) – which Dexter re-recorded later on King as « Diddy Wah Boogie » (# 885). Gass also held the vocal duty for « Sunshine » (Vocalion 04988, reissued in 1946 on Columbia 20240), both coming out of a long 8-track June 13th 1939 session.

Al Dexter, “Diddy, Wah, Diddy With A Blah! Blah!

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Aubrey Gass, vocalSunshine

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Al Dexter "Diddy wah diddy with a blah! blah!"Aubrey Gass "Sunshine"

As far at it concerns records, Aubrey Gass disappeared from the music scene between 1941 and 1946. Was he drafted in U.S. Army during W.W. II such a long time is improbable. Anyway, his first record under his real name was issued mid to late 1946 in Houston by Gold Star (# 1318) and coupled a then-famous for veterans couplet, « Kilroy’s Been Here » and «  Delivery Man Blues ». Backed by the Easterners (guitar, bass, fiddle, steel and piano), Gass on alert vocal and harmonica delivers a joyful A-side, although the bluesy B-side is equally at home. Indeed both sides were written by Gass, who saw the following year a reissue of his Gold Star disc on the new DeLuxe (#6001) label, a proof of the popularity of the record.

Kilroy’s Been Here

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Delivery Man Blues

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Aubrey Gass "Delivery Man Blues"Aubrey Gass "Kilroy's Been Here"Kilroy’s been here  lyrics

Paul Page

It must also be noted that a song « Kilroy Was Here » was recorded and released by Paul Page on Enterprise; reviewed by Billboard on August 31, 1946, no one can say who came first for sure.

Tex Ritter

« Dear John » […] was his biggest song ; in fact, it was the only hit he ever wrote. The first version was by Jim Boyd, younger brother of Dallas-based western swing artist Bill Boyd. Gass apparently knew Jim Boyd, offered him « Dear John », and Boyd recorded it on March 11, 1949. Soon after, Tex Ritter got his finger in the pie. Ritter probably promised to get the song cut by a big name, like himself, or to get Gass a contract with his label, Capitol, if he could get a piece of the song. The fact that Gass recorded « Dear John » for Capitol (# 40239, or # 1427) some five months after Boyd suggests that Ritter lived up to his half of their convenant. Hank Williams later picked (early 1951) up the song, this time co-written « Ritter-Gass ». Note : Jim Boyd’s version is already written by Gass and Ritter…

Jim Boyd, “Dear John” (original version)

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The session for Capitol took place in Dallas on August 9th, 1949 (Billboard announced both the contact signing and the recording session on Sept. 17) and supplied four more Gass-written songs. The backing of Wesley Tuttle and Group (specially come to Dallas) was made of Gass himself (vocal/harmonica), probably Tuttle (rhythm-guitar), a steel, a bass player and a drummer. First came the already discussed « Dear John » : Gass is full of energy on harmonica, has a husky voice, as on the fast « Look Me Up » and (by far the most hard-rocking tune of the lot) « K.C. Boogie ». The last song, « Gee But I’m Lonely Tonight », is a slowie and Gass doesn’t seems at ease here.

Billboard Nov. 12, 1949

Dear John

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Gee But I’m Lonely Tonight

copyright June 15,1950

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Look Me Up

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K. C. Boogie

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Aubrey Gass "Dear John"Aubrey Gass "Gee But I'm Lonely Tonight"Aubrey Gass "Look Me Up"Aubrey Gass "K. C. Boogie"

« Dear John » had numerous versions, among them an R&B rendition by Dinah Washington, which climbed at n°3 in the charts. It also had a follow-up in 1953 as « A Dear John Letter », first by Jean Shepard (Capitol 2502).

Next recording session Aubrey Gass collaborated for was done on May 19, 1950 by Al Dexter and his Troopers again. Gass was present, and played some harmonica on several tracks, but still being contracted to Capitol, could not sing at all. He plays (distinct style easily recognizable) on « Blow That Lonesome Whistle, Casey » (King 875)[very near in essence to “K. C. Boogie“], « Walking With The Blues » (which he co-wrote) (King 884), then both sides of King 913 : « Diddy Wah Boogie » and « You’ve Been Cheatin’ On Me ».

Al Dexter & His Troopers, “Blow That Lonesome Whistle, Casey”

downloadAl Dexter "Blow That Lonesome Whistle, Casey"Al Dexter "Walking With The Blues"Al Dexter "Diddy Wah Boogie"
Walking With The Blues

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Diddy Wah Boogie

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You’ve Been Cheatin’ On Me

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At unknown dates he cut several demos at Sellers Studio in Dallas, between 1950 and late 1951. Three of them found their way on the British/Nederland Boppin’ Hillbilly compilation n° 2810. Due to legal rights, we are not allowed to offer these great sides. They are : « Columbus Stockade Blues », « Here Today And Gone Tomorrow » and « Walkin’ Out Of Town ».Aubrey Gass "Fisherman Boogie"Aubrey Gass "Counting My Teardrops"Al Dexter, vocal by Al Dexter and Aubrey Gass "Counting M Teardrops"Al Dexter, vocal by Aubrey Gass "Fisherman's Boogie"

But « Counting My Teardrops » and « Fisherman Boogie », cut late 1951 or early 1952, were issued under Gass’ own name by Sellers as acetates, and released just as they were under Al Dexter’s name (« Vocal by Aubrey Gass ») on Decca, respectively 28345 and 28137 during the first half of 1952. Both tracks were probably recorded (given date by Michel Ruppli’s book « The Decca label » as Feb. 7, 1952) with the Al Dexter band : trumpet, rhythm-guitar, piano (particularly rolling in « Fisherman’s boogie»), steel, bass and drums and no harmonica at all. This 14 tunes session has no less than 8 unissued tracks, and could well reveal some surprises.

Aubrey Gass Vocal“, “Fisherman’s Boogie

Billboard August 23, 1952

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Aubrey Gass & Al Dexter,Counting My Teardrops

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A recent discovery on eBay has surfaced an unissued Audiodisc dated (as handwritten on label) May 23,1956. « Garbage Man » by Gass is a strange novelty : only vocal, harmonica and rhythm guitar. The acetate was gone on December 19, 2017 for $ 118,00.

Garbage Man“(acetate)

downloadAubrey Gass acetate "Garbage Man"

In 1962 (June) Aubrey Gass gave Tom O’Neal « Two Many Tickets » (released first on Cheatham 104, then reissued on Starday 607), a country rocker ; it’s probably Gass who played the harmonica in this song, as well as on the flipside « Sleeper Cab Blues ».

Tom O’NealToo Many Tickets

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Tom O’Neal,Sleeper Cab Blues

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Tom O'Neal "Too Many Tickets"

We now jump to one of the most famous Aubrey A. Gass records (backed by the Hel-Cats), this is on the Irving, TX Helton label released in 1965. « Corn fed Gal » is present in two recent compilations : a rocker with swooping piano (# 671-103), backed with a new version of « Kilroy’s Been Here ».(a good guitar ; piano is replaced by a discreet steel). Same label had Grady Owen (ex-Gene Vincent‘s Blue Caps bass player in 1958) (# 102) with « Vietnam Blues ».

Further research has unearthed a demo of « Corn Fed Gal », cut for the « Boyd Recording Service » in Dallas. The strange thing is that this version runs at 2 mn 05, while the Helton version has a duration of 2 mn 22. So then, are they the same ? Could it be that the lucky owner of the Boyd record please stand up and say the truth about this point. I am inclined personnally towards two different versions. This demo was sold on eBay in 2010 for $ 136,00.

Aubrey Gass "Corn Fed Gal" (Boyd Recording Serrvice)Aubrey Gass "Kilroy's Been Here"Aubrey Gass "Corn Fed Gal"

 

 

Corn Fed Gal“(Helton version)

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“Kilroy’s Been Here

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Last record is on the Swansee label # 1908 (mid-’60s) by Mr. G. « Pork-N-Beans » and « Sittin’n’Thinkin’ » are unheard, both written « Aubrey A. Gass », so cannot comment. Remember (see above) his actual name was Aubrey Andrew Gass.

Sources : my sincere thanks to UncleGil for Bronco Buster, the King Project, the Starday project and BACM music ; many (if not all) label scans do come from 78rpm-worlds ; thanks to ole’ Ronald Keppner for Sellers acetates ; Dave Sichak of hillbilly-music.com for Aubrey Gass only known picture ; Gripsweat site for 1956 acetate ; Colin Escott, « Hank Williams, The Biography » for the « Dear John » story. Billboard books for notifications of releases (Thanks Imperial!).

Your comment is welcome: use the “Submit a comment” button below. Thanks!

A R&B label goes Hillbilly: the SPECIALTY 700 serie (1949-1954)

280px-LAMap-doton-Shreveport

red point: Shreveport

art-rupe

Art Rupe

Around 1948-49, several big R&B concerns, like Apollo, Modern, Imperial began to squint from the East and West coasts at the lucrative Country music market of the South. Major labels (RCA, Decca, M-G-M) were already running it, but without being locally positioned, they were losing sales, and could not exploit completely this rich soil. So people like Modern’s Bihari Brothers, Imperial’s Lew Chudd, or Specialty’s Art Rupe did seek for D.J.s and A&R men to help them to recruit good talent. And studio for recording locally. The Biharis concluded contracts with Sam Phillips, who leased them a good amount of Blues, which not prevented him to sell other sides to the Chess Brothers in Chicago. Finally Les, one of the Biharis, launched on place in Memphis Meteor records in 1952. The label found immediate success with Elmore James, and later in 1954 in the Country charts with Bud Deckleman. The Chesses came to an agreement to furnish them with masters with local promoter in Shreveport, La. Stan Lewis, who used the facilities of recording at night in the KWKH radio studio. Lew Chudd liked Jim Beck’s studio better in Dallas, Texas and found a certain commercial success with Texan artists : Billy Briggs or Jimmie Heap to name only two. Art Rupe (Specialty)specialty cover 45 prefeJerry Green cut - BB January 3, 1953rred KWKH for its East Texas/Louisiana border position. It has been suggested that his first Southern sides had been engineered by Johnny Vincent in Jackson, MS. But the aural evidence show the very distinctive Stan Lewis feel. Billboard (January 12, 1949) gave notice that Rupe had just inked his first 4 artists on the new Specialty 700 label. All of them were barely known, no doubt they had been approached by Stan Lewis’ relations or talent scouts. Actually only Earl Nunn may be localized with his band, the Alabama Ramblers, for the first issue. Previously he had co-written in 1944 with Zeke Clements the controversial (for its racist words) « Smoke on the water » for Red Foley (Decca 6102). He was probably vocally fronted by Billy Lee, who would have his own record (# 704) a little later.

EARL NUNN offers an enjoyable lazy mid-paced « Double-talkin’ woman », with a steel well to the fore (# 701). Actually the very same steel appears on these early sessions, and one can wonder if this is a studio man, possibly Shot Jackson ; the latter was indeed hanging around at KWKH, and even had his own issues (# 704 and 710, discussed below), not to talk about his work on Pacemaker with Webb Pierce. JOHNNY CROCKETT (# 702) has «Just a minute », a very fast talking blues in the manner of Tex Williams with piano and steel effects, that could easily fall into the novelty category. BRUCE TRENT third (# 703) delivers a jumping sad « Alimony » and the medium paced bluesy « River blues ». It can be noted that he had backed with his Western Tunesters some Hal Carey on a Ca. Jewel label (# 7002).

BILLY LEE does the ordinary hillbilly « I don’t know why I love you » (# 704), while LEO STANCIL had to wait July 52 for the release of his excellent effort « Why don’t you quit hangin’ around »(# 707)(two sides penned by Earl Nunn). Long steel solo for an awesome bopper, with sweet Southern accent !

Earl NunnDouble-talkin’ woman“(701)

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Johnny CrockettJust a minute“(702)

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Bruce TrentAlimony“(703)

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Bruce TrentRiver blues“(703)

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701 earl nunn702 johnny crockett703A bruce trent703BB bruce trent

 

 

 

 

 

 

 

 

 

Leo StancilWhy don’t you quit hanging’ around

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707 stancil - hangin'It seems that the first 4 issues were released in a relatively short time after the label was launched, for example Specialty 703 (Bruce Trent) was reviewed by Billboard in March 1949, 704 in June 1949 although both the full years 1950-51 were blank in releases. Maybe Art Rupe was expecting more sales before cutting more records.

Things began to change a bit in 1952 with the advent of three new artists in the roster : namely CLAUDE KING, BIFF COLLIE and SHOT JACKSON. Collie has been discussed in full earlier in this site, so I omit him here. Claude King (born in Louisiana in 1923,deceased 2013) was not a newcomer. As soon as 1947, he had teamed with guitarist Buddy Attaway and bassist/entrepreneur Tillman Franks as « Buddy and Claude » for an issue on the small President label (HB-10), and a frequent theme for the era, « Flying saucers »
Buddy & Claude“”Flying saucers

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an agreeable and fresh jumping little tune, similar in style to that of the Bailes Brothers. president flying saucers

In December 1950, he recorded 4 tunes for the local Pacemaker label, which were also leased to the big Gotham East coast concern. On Specialty he cut three sessions, 10 tunes in all (2 remained unissued) – he wrote them all – between Spring and December 1952. « She knows why » (# 705) is an uptempo sad ballad (the same old story of the broken-hearted guy), which became seemingly the first hit of the Specialty Country & Folk label. At last, it had good sales and spinning reports in the South. So much so that it even had its answer song « He knows why » by Jeanette Hicks (Okeh 18021). « Take it like a man » (# 708) : the second release of Claude King has more rhythm and an insistant bass, a prominent piano and nice steel solo. Vocally King is in fine form, as in the next song « Got the world by the tail » (711), a little faster although in the same format as 708. Indeed King and his Hillbilly Ramblers had already found their way to the Louisiana Hayride saturday night show that had strong connection with KWKH radio. Actually Claude and Buddy Attaway were cast members of the Hayride since 1948, and wrote songs at the turn of the decade for Kitty Wells and Webb Pierce, who got them through Tillman Franks. Last Specialty 716 by him, « Now that I have you », remains untraced.

708 take it like a man

Note the ‘old’ Specialty design

711 claude king got the world by the tail

a rare 45

705 she knows why

Claude KingShe knows why“(705)

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bb 14-2-53 claude king

Claude KingTake it like a man“(708)

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Claude KingGot the world by the tail“(711)

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Claude KingRun baby run“(Dee-Jay 1248)

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claude king buste

Claude King

claude king--tillman franks

 

 

 

 

 

 

Claude also worked one of Hank Willams’ last tours, as his driver and opening act. He also toured in the Shreveport area with Johnny Horton, but they spent more time fishing and hunting together than in the studio ! Record wise, he remained without a contract until 1957, when he cut the famous rockabilly/rocker « Run baby run » for Dee-Jay (# 1248), and turned in 1961 on Columbia in Nashville for « The comancheros » and « Wolverton mountain » ; but this is another story..It’s interesting to note that, if King wrote all his material, he’d publish his songs sometimes at a curious « Ark-La-Tex » publishing house other than the regular « Venice music » for Specialty recordings.

 

 

 

 

 

 

 

The third new artist to appear in 1952 on Specialty is SHOT JACKSON (1920-1991), a steel guitar player. He did hang around at KWKH in 1950 and was the player (even sometimes singer on « Beautiful Hawaiian shores », or solist on some instrumentals) for all the Pacemaker sessions of Webb Pierce between December 1949 and January 1951. So it’s him playing steel on « California blues » to name only 1 of the score (circa 23) tunes cut by Pierce at KWKH. Jackson even had his Pacemaker record (# 1004) although sung by Pierce uncredited ! Needless to say, since Pierce, except 2 or 3 occasions, never used a fiddle, that Shot Jackson was the real force behind Pierce. He was indeed naturally intended to record for Specialty as soloist.

His 4 sides are uptempo honky-tonks, nothing spectacular, except in a negative way :  the machist « I’m trading you in on a later model » (# 706), and the deceiving « You can’t get the country out of the boy » (# 710) – such a title did merit a better treatment. Barely audible steel (short solos), an omnipresent fiddle; the voice of Jackson is forgettable. Note that current Hayride artists Johnnie & Jack gave him 3 of his 4 songs ; in return Jackson was to play dobro for them on numerous records onwards. Surely he was better on instrumentals, and after he built, with the help of Buddy Emmons (house steel-player at Starday), a double-neck steel baptized « Sho-Bud », he was to come again in light in 1962 on a compilation dedicated to steel guitarists (Starday EP 236).

706 shot jackson - trading

Shot JacksonI’m trading you in on a later model“(706)

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Shot JacksonYou can’t get the country out of the boy“(710)

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shot jackson ? pict

Shot Jackson with Ricky and David House

courtesy David House, one of the boys

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The third generation of artists on the Specialty 700 serie begins with the Texan JERRY GEEN. (born 1931) He was signed by Art Rupe early in 1953 and cut 4 sides.

« Naggin’ women and braggin’ men » (# 712) is a real good bopper, a tinkling piano well to the fore, followed by a nice steel and a rather embarrassed lead guitarist. « Are you going my way » (# 714) is a shuffler, well-sung and agreeable, with the same backing format. Leader is still shy ! Luckily piano and fiddle come to rescue the solo ..Green was also active indeed on the La. Hayride, before being drafted into the Army until 1955. He then relocated in Arkansas for a radio show « Country Capers » on a Fort Smith KFPW station. Then later he hit the big time with « Tripod the three leggged dog » which led him to Grand Ole Opry in 1967.

Jerry GreenNaggin’ women and braggin’ men“(712)

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Jerry GreenAre you going my way“(714)

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jerry green today

Jerry Green today

712 green - naggin' women

Jerry Green - 1951(Imperial)

Jerry Green 1951

Next artist was SMOKEY STOVER, D.J. in Baytown, Tx. He liked Claude King « She knows why », according to a Billboard snippet! Very few details came to light about him, except these : a native of Texas (Huntsville, 1928), he had his own band at 16 and began a long carreer Country D.-Jaying in Pasadena in 1948 only to retire from radio in 1995 in Gallatin, TN! In the meantime, he had been on numerous stations out of Texas, Mississipi, Louisiana (where he tried a career as singer), even New Mexico. He had records on Starday, Ol’podner, Stampede, Sage, Toppa. So now let’s value his Specialty product, cut at KWKH on November 15, 1952. « What a shame » (# 715) is a mid-paced opus ; nothing particular, a nice shuffler as too many in this era. Soli (guitar and fiddle) are interplayed and welcome. Vocal is firm but without any personal touch.

Smokey StoverWhat a shame“(715)

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smokey stover

Smokey Stover

715 stober - shame

This is not the case with JOHNNY TYLER, a veteran (first sides in 1946 : « Oakie boogie » on Stanchel) whose story has been told in this blog before. He offers the bluesy partly double-voiced mid-paced « Take your blues and go » (# 713) ; good surprise : a spare harmonica a la Wayne Raney, without a sufficient volume. « Hillbilly preacher » (# 715) reminds me at times of someone sounding like, say, Luke McDaniel : fine guitar over an insistant rhythm backing. This type of material predates Tyler’s Ekko sides of March 1955.

Johnny TylerTake your blues and go“(713)

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Johnny TylerHillbilly preacher“(715)

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Joyce Lowrance & Earney VandagriffHush money” (718)

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717 tyler - preacher718 vandagriff - hush money

Last but not least, the elusive EARNEY VANDAGRIFF, whose story is hard to write. The details on him are near zero, except he came from Texas, and that he had records on Starday and Rural hythm between 1954 and 1957, among them the famous « Atomic kisses ». Here he delivers in a duet with Joyce Lowrance the happy and fast bopper « Hush money » (# 718), with a fine steel throughout and insistant fiddle.

And that was it, Art Rupe decided after 18 issues it was time to close a relatively not so lucrative affair, and concentrate his hopes (and money) on black music, be it Gospel (e.g. Soul Stirrers), R&B (a huge catalog) or, before long, Rock’n’Roll. A sign moreover of poor sales is given by the rarity of these Specialty 700 sides. Rupe’s rivals of Chess, Modern and Aladdin had come to the same conclusion for their part. Sole Meteor in Memphis remained open with the smash success of Bud Deckleman (« Daydreamin’ ») in 1954, before the advent of Rockabilly in 1956, and closed in 1957. But Sun was then at the right position to take advantage in the race for the hits.

 

Sources : Cactus CD « Specialty hillbilly » for music and CD tracks. Iconographic material : 78tpm.worlds for 78rm scans. Youtube for President Claude King 78 (scan & msic). Various entries on Internet for Art Rupe, Speciaty logo, Smokey Stover, Billboard records reports. Dominique Anglarès (warm thanks !) for Jerry Green and Shot Jackson pictures, also a full Bllboard page and interesting precisions. David House for Shot Jackson picture with Mr. House on Shot’s knee.

Houston, TX: the hillbilly novelties of BIFF COLLIE (1949-1972)

 

Biff (Hiram Abiff) Collie, pioneer country (DJ), show promoter and trade paper reporter, was born on November 25, 1926 in Little Rock, biff collie2 picArkansas, but raised in San Antonio, Texas. He graduated from Thomas Edison High School (San Antonio, Texas) in 1944. Biff’s professional career spanned forty years working such major markets as Houston and San Antonio, Texas and Los Angeles and Long Beach California.

 

Biff Collie began his radio career at KMAC radio in San Antonio as a teenager. After brief stints at Browning and Alice, Texas, he moved on to KNUZ radio in Houston and later to KPRC. Biff started with KNUZ (1948) working as sports reporter, before moving into a disc jockey role. During that time, Glad Music Company had a record store on 11th Street. KNUZ had regular remote broadcasts from their store. Popular recording artists were frequent visitors to the shop. Hank Williams was one of the many artists to stop by. Biff was conducting a remote broadcast from Glad Music in 1948 when Hank Williams visited the store.

biff collie pic

 

Biff was the first country disc jockey (see note below) in Houston, which remains one of the premiere markets for country music radio. While in Houston, he also promoted and booked shows, becoming one of the first to ever book Hank Williams, Sr. and Tennessee Ernie Ford. In 1957, he became manager and emcee for the Philip Morris Country Music Show, which was broadcast nationally on Mutual Broadcasting Radio and CBS Radio. Later he worked mornings on KPRC and hosted a certain up and coming singer from Memphis by the name of Presley at the Grand Prize Jamboree.

 

In 1960, Collie moved to Los Angeles where he remained for the decade, gaining huge popularity over KFOX Radio. He was consistently in the top ten radio personalities in Billboard and Music Reporter magazines and was also named “Best Radio Personality” by the Academy of Country Music, an organization which he served on the Board of Directors and produced the annual awards show in 1967. He moved to Nashville in 1969 and produced the first syndicated radio show, “Inside Nashville,” which ran on stations across the country for many years. He also was a morning man (Collie’s Coffee Club) on KLEE radio in Ottumwa, Iowa.

 

Collie made an attempt at recording, first on Macy’s records in Houston and later for Specialty. His only charted hit was as Billy Bob Bowman in 1972 on United Artists. Collie married the former wife of country legend Floyd Tillman in 1953. Biff later married Shirley Simpson, who as Shirley Collie recorded several duets with Willie Nelson. It was Biff who introduced Shirley to the up-and-coming singer/songwriter and Shirley eventually divorced Collie to marry Nelson.biff Collie's Coffee Club

 

Before his death, Biff earned the Ernest Tubb Humanitarian Award for his contributions. Biff is a member of the Country Music DJ Hall of Fame (1978). Collie died on February 19, 1992 in Brentwood, Tennessee.

 

Radio stations where Biff worked: KMAC (San Antonio, Texas, 1944-45), KWD (Browning, Texas, 1945-46), KBWI (Alice, Texas, 1946-47), KNUZ (Houston, Texas, 1948-55), KPRC (Houston, Texas, circa 1955-57), KLAC (Los Angeles, 1959), KFOX (1960-69, Long Beach, CA), KLEE (Ottumwa, Iowa, circa?), KSIX (Corpus Christie, Texas, circa 1958)

 

Note: Some articles claim that Texas Bill Strength (8/28/1928 — 10/1/1973) was the first country DJ in Houston, but that may not be the case. Texas Bill Strength was a sixteen year old teen in 1944 when he won an amateur contest at the Joy Theatre in Houston. A representative from KTHT radio happened to be present and decided to give Bill his first radio job as a fledgling western singer. In remembering that episode, Bill was quoted, “My Mother thought for sure I was dying and I can’t say what the old man said.” Texas Bill Strength had a modestly successful singing and recording career. He recorded for 4Star, Capitol and Coral records.

 

About KFOX-AM 1280: KFOX was called The Country King. It was the original country music heavy weight in Southern California. It broadcast from the International Tower in Long Beach. During the 1960s, the country music hosts consisted of Dick Haynes, Biff Collie, Charlie Williams and Clifford “Cliffie” Stone. (RJB: Country Music Historian, 9/2010).

 

About the recordings of Biff Collie (bopping’s editor)

The earliest were made for Macy’s in Houston, first with Collie as vocalist fronting Smitty Smith orchestra for « Broken memories » (# 109, November 1949). As you could expect from such a title, it’s a slowie, well sung, but nothing else. Superior lazy backing.

macy's 109B Smitty smith - broken memories

Broken memories

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On Macy’s 126, the record is credited to Biff Collie, either a sign of greater popularity as a D.J, either of his exposure on stage. Both sides, the macho « I want a gal (that cook for me) » and the uptempo « I’ve said it before » are somewhat ruined by an organ, and partly saved by a nice steel guitar.

I want a gal

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I’ve said it before

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macy's 126A biff collie - I want a galmacy's 126B biff collie - I've said it before

 

 

 

 

Biff & Margie#2

Bill & Marge courtesy Imperial Anglares

columbia 20776 biff collie & little marge - I don't care who knows

I don’t care who knows

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Next record by Biff Collie was on the short-lived Specialty Country serie. He’s here nicknamed « Bellerin’ bowlegged boy ». I didn’t put until now my hand [see note below] on « Everybody wants me but you »(Specialty 709). «  Don’t talk about love (the way you do)» on the other side is a fast ditty, with a wild piano well to the fore, added by a typical (for the era) fiddle and a steel. Collie is in good vocal form.

 

Don’t talk about love

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specialty 709 biff collie - don't talk about lovespecialty 709 biff collie - everybody wants me

Everybody wants me but you

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(Note) “Everybody wants me but you” is a good shuffler. Thanks to Steve Hathaway.

 

Then he was signed to Starday and cut 4 singles for them between January 1955 and July 1956. Several tunes remained unissued. The first issue « What this old worlds needs » (# 178) has the typical Starday sound and combination of fiddle, guitar and steel over an assured vocal. Nobody can say if Collie, as a D.J., was not pushing a little more his own record ! I don’t ever heard the flipside « Lonely ». In any case, he returned to the Gold Star studio in Houston for « Goodbye, farewell, so long », a nice piano led uptempo (# 203); Its flip « Look on the good side » is fast, same vein.

What this old world needs

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Goodbye, farewell, so long

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Look on the good side

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starday 178 biff collie - what this old world needsstarday 203 biff collie - goodbye, farewell, so longstarday 203 biff collie - look on the good side

 

 

 

As a proof of his success, he was called again in January 1956 for 4 sides (2 remain unissued).. « Doodle-doo » ( 230) is a novelty, happy side, while « Empty kisses » is a forgettable weeper.

 

 

 

Last session for Starday in July 1956,and it’s a completely different style : »Joy joy joy » (# 251) is an out-and-out rocker, with sax (Link Davis?), in the manner of Glen Barber. The flipside is untraced (« All of a sudden ») nor of course the unissued « Baby let’s mix », which looks promising. There is a lot of music stilll to unearth from the Starday vaults.

Doodle- doo

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Joy, joy, joy

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starday 230 biff collie - doodle doostarday 251 biff collie - joy, joy, joy

 

 

 

One must wait 1972 for the next record of Biff Collie, cut in Nashville under the name of « Billy Bob Bowman ». « Miss Pauline » (U.A. 50597) is plain main Country music, with steel and chorus. Not disagreable music, but nothing exceptional. Another label in 1974 : Collie cut for Capitol 6 sides, 4 remain unissued, and the 45 is untraced.

UA 50957 billy bob bowman - miss Pauline

 

 

 

Miss Pauline

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Sources : biographical details from HillbillyBoogie1 Youtube chain (my sincere thanks to him, whoever he may be), with additions. Scans from 45rpmcat and 78rpmworlds. Music from Hillbilly Researcher serie (Macy’s) or Cactus (Specialty). « Starday » (scans and music) is easily found on the Net. Discography [partly inaccurate] from Praguefrank site.

early June 2012 fortnight’s favorites: the “Move It On Over” saga and a late ’50s Texas hillbilly bopper

Howdy folks! This time I managed to post 8 tunes, instead of the usual 6. I must say: the matter was significant with the “Move It On Over” story, a tune frequently covered over the years. I picked up 4 versions, ranging from 1947 to the ’60s. (more…)

A.C. “Buck” Griffin, classic Texas Hillbilly bop and Rockabilly (1954-1956) on Lin and M-G-M

One of the first articles I ever wrote was about rockabilly/honky tonk singer Buck Griffin, which in turn led me to my proud association with Joe Leonard. Griffin was a great artist who unfortunately struck out before making the major leagues, despite going to bat for Lin, MGM and Holiday Inn between 1954 and 1962. He tried his hand at both country and the newly emerging rockabilly style but was destined to remain relatively unknown.

pub 1956

Born Albert Clyde Griffin in Corsicana, Texas on 23rd February 1923, his formative years were spent moving throughout Oklahoma and Kansas. Whilst still in his teens, A.C., as he was known, formed and fronted a country band with three schoolmates. After leaving school and holding down jobs on pipelines and oil fields, he started to play the local honky tonks and eventually got a gig on radio station WKY.

Throughout the forties and fifties radio had bred many stars who once they were groomed and polished, moved on to better things, leaving the station manager to find a replacement. WKY probably had this in mind when they copyrighted the name Chuck Wyman and had our Mr. Griffin use it for all his broadcasts. Once he left the station, singers like Paul Brawner and Pronger Suggs took over the role and the sponsors continued backing the shows. The public must surely have noticed whenever a new Chuck arrived, but after a hard days toil in the cotton fields or rounding up cattle, I don’t suppose they cared. (more…)